Post Tenebras Lux

reygadas' must mild film, controversially outmoded leos carax's holy motors in cannes 65. yes, autobiographical, yes some treacherousness. yet as THR, this isn't enough to call it great filmmaking. view and review.

couldn’t be left alone for s/he won’t be able to survive without the care of his parents. Neither Foetus nor animals are able to understand signs. Still signs are universal. Everybody knows that an abysm is a sign for danger. He went silent and left the room. At the next day he apologized and said to the concurrence -not without sarcasm-, that in the future he had to be more careful to respond to a person with such intellectual grasp. One of the main problems of auteur filmmakers who owe most of their reputation to the friendships they have cherished around the world in film festivals such as Cannes, is that they assume the role **** who only very few can understand. The crowds that make successful a film are a matter of Hollywood. For them photography should serve filmmaking, rather than filmmaking photography. Such geniuses forget that cinema is an independent art that owes as much to theater as to photography. Truly, photography is a compelling art, but when it uses film to advance its own agenda we are at the verge of failure. That’s why Post-Tenebras-Lux-directe-008.jpgsuch auteur cinema is boring. The Reygadas of Japon is a matter of the past. His recent cinema sacrifices plot for the sake of stillness. Such art is more proper to museums than to movie theaters. The efforts of filmmakers who place photography over storytelling are similar to those of the salesman who once his customer pays him for a car insurance, gives him instead a holiday package. Photography, as painting, requires a static gaze. Post Tenebras Lux is more suitable to museums, photographer’s websites or monthly magazines specialized on pretty pics. Sure, the beauty of “Post Tenebras Lux” will be well appreciated there.